Jah Is Real [Digipak]

Performer: Burning Spear
Engineer: Brian Thorn; Donovan Simmonds; Michael John; Ted Young
Distributor: (Independently by Label)

Notes: Personnel: Burning Spear (vocals, percussion, background vocals); Brian Thorn, Donovan Mackity, Linford Carby, Andy Bassford, Cecil Ordonez, Ian Coleman (guitar); Blessed Donald Toney, Jerry Johnson (saxophone); Kevin Batchelor (trumpet); Jason Jackson (trombone); William Berlind, Lawrence Lewis, Kennedy Simmonds, Michael Hyde (keyboards); David Rekhley, I Palmer (bass guitar); Howard Smith (drums); Joanne Williams, Marie Thomas, The Late Show's Gospel Choir, Lady Peachena (background vocals). Audio Mixer: Christopher Daley. Audio Remasterer: Chris Gehringer. Recording information: Magic Shop Studio. Arranger: Burning Spear. It's almost unreal to hear how vital Burning Spear (aka Winston Rodney) sounds on JAH IS REAL. No doubt spurred by righteous indignation at the demise of reggae's industry support, the reggae/dub legend channels that anger through peaceful pleas, spiritual stands, and head-nodding rhythms on standouts like "The Cruise" and "Run For Your Life." But it's the electrifying addition of Parliament members Bootsy Collins on bass and Bernie Worrell on keyboards that give REAL its resonant sting. The oft-pigeonholed Collins, in particular, integrates himself with joyous restraint. On JAH, Rodney proves that musical protest can still happen without screaming at a wall. The reggae record business has been a snakepit for decades, and few have been as cruelly used by it as the legendary Winston Rodney (aka Burning Spear), a man whose recordings have helped build the foundation of roots reggae music and one who has struggled to survive financially for most of his career. Now living in Queens and running his own label, Rodney is not only finally reaping the just rewards of his hard work but also singing and writing at the peak of his powers. Jah Is Real is one of the strongest entries in his monumental catalog. It uses modern technology and recording techniques to deepen and strengthen his signature sound: a dry, heavy blend of horns, chanted melodies, two-ton basslines, and devotional lyrics. On this album he's helped out by what might seem at first like an unlikely duo: bassist Bootsy Collins and keyboardist Bernie Worrell, both charter members of Parliament Funkadelic. But the disconnect is only superficial: funk and reggae have deep roots in common, and both Bootsy and Bernie fit into the band with seamless ease. Highlight tracks include the resolutely rocking "People in High Places," the contemplative "Step It," the calypso-inflected "One Africa," and especially, the simple and moving title track. As with most Burning Spear albums, though, this one isn't characterized by sharp high and low points; it's a slow and steady journey through the soul and mind of one of reggae music's most beloved figures, and it moves with all the irresistible momentum of an elephant herd. Very highly recommended. ~ Rick Anderson

Burning Spear (born Winston Rodney) was originally a protege of his neighbor Bob Marley, but even his earliest music exhibited his characteristically unique and intense style. His lyrical concerns--black culture and history, a hybrid form of Pan-Africanism, Garveyism and Rasta tenets, and (especially) universal love--have been consistently and powerfully expressed throughout his lengthy recording career. Perhaps most memorable is his 1975 breakthrough masterpiece, MARCUS GARVEY, where he emerged as one of the most distinctive and original talents in the history of reggae.

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